The Auer Legacy /Katheleen Parlow, Misha Elman, Cecilia Hansen, Isolde Menges, Jascha Heifetz (1991)

Auer is remembered as one of the most important pedagogues of the violin, and was one of the most sought-after teachers for gifted pupils. Many famous virtuoso violinists were among his pupils, including Mischa Elman, Jascha Heifetz, Nathan Milstein, Efrem Zimbalist, Georges Boulanger, Benno Rabinof, Kathleen Parlow, Oscar Shumsky, and Sasha Lasserson. Auer also taught the young Clara Rockmore, who later became one of the world's foremost exponents of the theremin.
Like pianist Franz Liszt in his teaching, Auer did not focus on technical matters with his students. Instead, he guided their interpretations and concepts of music. If a student ran into a technical problem, Auer did not offer any solutions. Neither was he inclined to pick up a bow to demonstrate a passage. Nevertheless, he was a stickler for technical accuracy. Fearing to ask Auer themselves, many students turned to each other for help. (Paradoxically, in the years before 1900 when Auer focused more closely on technical details, he did not turn out any significant students.)
While Auer valued talent, he considered it no excuse for lack of discipline, sloppiness or absenteeism. He demanded punctual attendance. He expected intelligent work habits and attention to detail. Lessons were as grueling as recital performances—in fact, the two were practically identical.
In lieu of weekly lessons, students were required to bring a complete movement of a major work. This usually demanded more than a week to prepare. Once a student felt ready to play this work, he had to inscribe his name 10 days prior to the class meeting. The student was expected to have his instrument concert ready and to be dressed accordingly. An accompanist was provided. An audience watched—comprised not only of students and parents, but also often of distinguished guests and prominent musicians. Auer arrived for the lesson punctually; everything was supposed to be in place by the time he arrived. During the lesson, Auer would walk around the room, observing, correcting, exhorting, scolding, shaping the interpretation. 'We did not dare cross the threshold of the classroom with a half-ready performance,' one student remembered.
Admission to Auer's class was a privilege won by talent. Remaining there was a test of endurance and hard work. Auer could be stern, severe, harsh. One unfortunate student was ejected regularly, with the music thrown after him. Auer valued musical vitality and enthusiasm. He hated lifeless, anemic playing and was not above poking a bow into a student's ribs, demanding more 'krov.' (The word literally means 'blood' but can also be used to mean fire or vivacity.)
While Auer pushed his students to their limits, he also remained devoted to them. He remained solicitous of their material needs. He helped them obtain scholarships, patrons and better instruments. He used his influence in high government offices to obtain residence permits for his Jewish students. He shaped his students' personalities. He gave them style, taste, musical breeding. He also broadened their horizons. He made them read books, guided their behavior and career choices and polish their social graces. He also insisted that his students learn a foreign language if an international career was expected.
Even after a student started a career, Auer would watch with a paternal eye. He wrote countless letters of recommendation to conductors and concert agents. When Mischa Elman was preparing for his London debut, Auer traveled there to coach him. He also continued work with Efrem Zimbalist and Kathleen Parlow after their debuts.

Tracklisting:

CD1
01. Leopold Auer Known Recordings 1920: Tchaikovsky - Melodie |3:53|
02. Leopold Auer Known Recordings 1920: Brahms - Hungarian Dance No. 1 |2:55|
03. Kathleen Parlow The First London Recordings: Paganini - Moto perpetuo |3:08|
04. Kathleen Parlow The First London Recordings: Bach - Air on the G string |2:48|
05. Kathleen Parlow The First London Recordings: Chopin - Nocturne No.8 |3:59|
06. Kathleen Parlow The First London Recordings: Halvorsen - Chant de Veslemoy; D… |3:49|
07. Cecilia Hansen RCA Victor Recordings 1924-5: Brahms - Hungarian Dance No.4 |4:04|
08. Cecilia Hansen RCA Victor Recordings 1924-5: Cui - Berceuse |3:17|
09. Cecilia Hansen RCA Victor Recordings 1924-5: Vieuxtemps - Rondino |3:45|
10. Cecilia Hansen RCA Victor Recordings 1924-5: Wieniawski - Kujawiak Mazurka |3:20|
11. Cecilia Hansen RCA Victor Recordings 1924-5: Hubay - Hejre Kati |4:28|
12. Isolde Menges From the first HMV recordings 1915: Godard - Staccato-valse |3:44|
13. Isolde Menges From the first HMV recordings 1915: Brahms - Hungarian Dance No.7 |2:04|
14. Isolde Menges From the electrical HMV recordings 1925-30: Sarasate - Malaguena |4:47|
15. Isolde Menges From the electrical HMV recordings 1925-30: Faure - Berceuse |4:04|
16. Isolde Menges From the electrical HMV recordings 1925-30: Hubay - Hejre Kati |4:57|
17. Isolde Menges From the electrical HMV recordings 1925-30: Schubert Sonata No…. |3:42|
18. Isolde Menges From the electrical HMV recordings 1925-30: Schubert Sonata No…. |4:47|
19. Isolde Menges From the electrical HMV recordings 1925-30: Schubert Sonata No…. |2:44|
20. Isolde Menges From the electrical HMV recordings 1925-30: Schubert Sonata No…. |4:06|
21. Isolde Menges From the electrical HMV recordings 1925-30: Hubay - Der Zephir |3:28|

CD2
01. Mischa Elman from the London G&T recordings (1906-8): Bohm - Gavotte |2:29|
02. Mischa Elman from the London G&T recordings (1906-8): Wieniawski - Souvenir de Moscou |4:04|
03. Mischa Elman from the London G&T recordings (1906-8): Brull - Scene espagnole |4:32|
04. Mischa Elman from the London G&T recordings (1906-8): Tchaikovsky Melodie |3:41|
05. Mischa Elman from the London G&T recordings (1906-8): Chopin - Nocturne No.2 |4:02|
06. Mischa Elman from the London G&T recordings (1906-8): Drigo - Serenade |2:48|
07. Mischa Elman from the early RCA Victor recordings (1910-21): Drigo - Serenade |2:41|
08. Mischa Elman from the early RCA Victor recordings (1910-21): Sammartini - Canto amoroso |3:54|
09. Mischa Elman from the early RCA Victor recordings (1910-21): Schumann - Vogel als prophet |3:37|
10. Mischa Elman from the early RCA Victor recordings (1910-21): Grieg - Nocturne |4:11|
11. Mischa Elman from the early RCA Victor recordings (1910-21): Beethoven - Contretanz No.1 |2:38|
12. Mischa Elman from the early RCA Victor recordings (1910-21): Moore - The last rose of summer |3:19|
13. Jascha Heifetz - The Prodigy (1911): Dvorak - Humoresque |2:59|
14. Jascha Heifetz - The Prodigy (1911): Schubert - L'abeille (The bee) |2:12|
15. Jascha Heifetz - From the first RCA Victor recordings (1917-8): Wieniawski - Scherzo-tarantelle |4:20|
16. Jascha Heifetz - From the first RCA Victor recordings (1917-8): Elgar - La Capricieuse |3:00|
17. Jascha Heifetz - From the first RCA Victor recordings (1917-8): Glazunov - Meditation |3:37|
18. Jascha Heifetz - From the first RCA Victor recordings (1917-8): Sarasate - Malaguena |4:29|
19. Jascha Heifetz - From the first RCA Victor recordings (1917-8): Bazzini - La Ronde des Lutins |4:04|
20. Jascha Heifetz - From the first RCA Victor recordings (1917-8): Moszkowski - Guitarre |3:05|
21. Jascha Heifetz - From the 1932 Bell Laboratory test recordings: Clerambault - Largo |3:54|
22. Jascha Heifetz - From the 1932 Bell Laboratory test recordings: Godowsky - Alt-Wien |2:43|
23. Jascha Heifetz - From the 1932 Bell Laboratory test recordings: Rimsky-Korsakov - The Flight of the Bumblebee |1:15|

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